Donne al silicone
Silicon Women Best to be laughed at (by Nicoletta Martelletto)
A young and creative vicenza artist rappresents the triannual textile in Slovackia.
Her washing has become a work of art.
She studied ceramics and restauration. And a great passion for re-use of poor materials. One day playing with a silicone gun creating scenographies, the artist created a few bracelets. From this starting point to a collection of objects that move in amongst luxury and desire. Originary of Schio, Elvezia lives in Vicenza, in the country-side and doesn’t exclude manipulating the earth...
What does the 21st century woman do? She fill her skin’s wrinckles with collagene or helps herself with liftings, enlargens her breasts with silicone, she adds and takes away as many years as she pays her plastic surgeon. Why not dress then these hyper-beautiful women in silicone? Why not give them rubbery underwear that tells with irony femininity’s new frontiers?
Elvezia Allari is meditative laugh’s daughter and, being an artist, uses logic upon objects.
She picks them up, undoes them and rebuilds them as something else, as a daily provocation.
With inorganic polymers she practically wedded herself: she has even made a burka for the theatrical play that last year on the 8th of march, was opened on stage in the auditorium at the Mart in Rovereto. In that occasion Elvezia worked with François Bruzzo, film director and university professor in the IULM of Feltre, to produce “The Swing: canvas of women with bride”, a play based on six figures, from the child to the old lady, “through fitticious gravity and artificious perennity” on history’s compromise. Musics by Arvo Part, de Andrè and Almodovar’s film soundtracks, and the dressing of the bride evolves into a tribal song that leaves transparency to the burka with glass drops. Islamics had nothing to say against it.
There is something more than simple “costume evolution” in Elvezia’s action who already in the past has worked in the theatre business with Giovanni Todescato who was once the artistic director of the Vicenza Theatre Ensemble (now directed by Roberto Giglio), creating sceneries for various comedies based on Italian thadional theatre (“La Commedia dell’ Arte” by Goldoni). Elvezia’s work with the theatre was ideal for her exhibition in the then exhibition foyer in the Astra Theatre where she made a remarkable collection dedicated to Goffredo Parise’s “21 Sillabari”, based in six works.
But returning to her famous high-tech, sci-fi washing: at the moment it’s ended up in slovakia, seen the fact that Elvezia had a part in the 2006 textile tri-annual in Liptovsky Mikulas, three hours by car from Bratislava. The artist exemplifies “2600 of non stop kilometres from Vicenza, all by car. They were never ending, heading straight for the Tatra mountains”.
The slave tri-annual is the most interesting modern exhibition that the textile industry has to offer: 45 artists were chosen, and Allari is the only italian one. An immense gallery, the P.M. Bohùna, hosts from this august until the next 3rd of December a series of exhibitions showing the difference between cloth and tapestries, basing itself on the use and platting of plastic thread.
Elvezia’s washing – an under dress, a brassiere and a small corset – camps hung upon a wire to remember the woman that is and isn’t there, to show a mirror like hypnotic capacity and it’s magic.
“I wanted to have fun being funny, I understood that the message had passed on when they sent me a message wanting photos of my works for the slave gallery” explains the artist.
the Liptovsky Mikulàs exhibition the works will move farther north to the city of Martin in the Zilina region. “even if in such a small country, they have a great artistic sense, they are really fond of exhibitions and it never happened to me meet artists that have pleasure in exchanging information, receiving new ideas and techniques and take you by the hand to illustrate their own work” explains Elvezia Allari, visibly proud of the success over the border. When her washing will come home in spring it will be united to all the new silicone works that she has prepared for her new collection.
And to think that she started playing with the silicone gun because she was bored: “I was realising sceneries on women and Canaletto when, whilst I was having a break I started twirling the gun on the floor and in such a way, creating my first bracelets. I saw that the hot silicone slowly became hard, and once totally hard they would just come of the surface as new objects. These objects were all different and just adding a small stone or colouring them they became really expressive.” This is exactly how all the other series of bracelets were born. Every thing with the sent of something ephemeral that could be melted away in an hour or in a day evolve, like fashion, like all of today’s fashion that overthrow personality.
All the works have hilarious names and the inventions never cease, with transparencies that are sons to another creative flow, that of metal wire that bore the idea of steel clothing and metal dresses, which resemble little cages for imperfect bodies; and promenade jewelry, with taught wire and coloured beads.
Within her unstoppable creative heat – let’s hope it lasts – Elvezia worked with mosaics for the Trend Group of Pino Bisazza and has created bikinis and bracelets with very luxurious mosaic chips which all started at the end of the nineties with her famous “mobiles”.
If there should be an ininterrupted thread in this it is surely recycle, recycling poor materials, materical art of infamous provenence. Minimal and not necessarily chic. But of great creative genious and above all brought back to the female identity that follows Elvezia like a signature. Elvezia exhibited in galleries in such places like Milan, Venice, Verona, Padua, Mestre and Turin.
Some of her works were even chosen for the Chicago Bi-annual January exhibition in 2003.
Next stop? After the use of metal wire for producing clothes to hang-up, it may be substituted by cellulose pulpe, even part of her restauration courses: “ Or otherwise I may go back to the mother earth, the primal matter…it may even be because I live in the country…”.